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Book Title: De qué hablamos cuando hablamos de amor|
ISBN 13: 9788433920669
The author of the book: Raymond Carver
Date of issue: May 1993
Format files: PDF
The size of the: 4.22 MB
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Reader ratings: 7.5
Read full description of the books:
I'll announce the cliche of my loving this book before you beat me to it.
I'm an overeducated, mock-contemplative early-twenty-something with a penchant for strong male voices (despite my feminist leanings) and a distaste for anything too sentimental. I was raised in the tradition of "Show, Don't Tell" and hold this closer than even my favorite teddy (whose name is Atticus.) My middle name is "Minimalism." My other middle name is "Ooh, that sounds pretty."
With that out of the way, yes, of course I loved this volume, and probably for the reasons you'd expect.
Raymond Carver's name should be in lights. Everyone who likes this book is going to tell you that one of Carver's strengths is his knack for understatement. I'm guessing what they're getting at is Carver's ability to keep all the mechanics of his stories imperceptible beneath the surface, with maybe a few out-of-character exceptions (the alcohol device in the title story being one). There's also the fact that Carver seems to accomplish things in the span of one page that so many authors would kill many more trees (and possibly small children, and maybe even a puppy or two) to achieve; see the opening page of "Tell The Women We're Going" to see what I mean. How many authors can convincingly sum up the entire personal history of two characters in only one paragraph?
Beneath the tightness of each story there seems to be a distinctive pulse. Not the rhythm of the language. Rather, the kind of pure life energy that all artistic works strive for (or at least they should.) When stories took turns ("for the worst" is implicit), what startled me more than each outcome was often the fact that I was so moved by them each. It's because of this pulse that characters who existed for only 3 or 4 pages still seemed to walk off the page and become real. And that's probably what will make these stories linger in my memory.
People often seem to speak of "Raymond Carver's America" when they're trying to grasp these stories. I don't know what that means, or if Raymond Carver's America is anything like mine. Whatever it is, it's tortured and beautiful. And I like it.
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Read information about the authorCarver was born into a poverty-stricken family at the tail-end of the Depression. He married at 19, started a series of menial jobs and his own career of 'full-time drinking as a serious pursuit', a career that would eventually kill him. Constantly struggling to support his wife and family, Carver enrolled in a writing programme under author John Gardner in 1958. He saw this opportunity as a turning point.
Rejecting the more experimental fiction of the 60s and 70s, he pioneered a precisionist realism reinventing the American short story during the eighties, heading the line of so-called 'dirty realists' or 'K-mart realists'. Set in trailer parks and shopping malls, they are stories of banal lives that turn on a seemingly insignificant detail. Carver writes with meticulous economy, suddenly bringing a life into focus in a similar way to the paintings of Edward Hopper. As well as being a master of the short story, he was an accomplished poet publishing several highly acclaimed volumes.
After the 'line of demarcation' in Carver's life - 2 June 1977, the day he stopped drinking - his stories become increasingly more redemptive and expansive. Alcohol had eventually shattered his health, his work and his family - his first marriage effectively ending in 1978. He finally married his long-term parter Tess Gallagher (they met ten years earlier at a writers' conference in Dallas) in Reno less than two months before he eventually lost his fight with cancer.
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